2 ELITE SQUAD (TROPA DE ELITE) Synopsis ELITE SQUAD (TROPA DE ELITE) is an intense and astonishing look at Rio de Janeiro s notorious favelas, the volatile slums on the edge of the city. The film is set in 1997 and presents an intimate look at the city s vast and intricate web of corruption. Drug trafficking militias have virtual control within the favelas while the police run their criminal enterprises outside. The elite BOPE force (State Police Special Operations Battalion) combats drug trafficking keeping order has its price though and their actions make it difficult to distinguish right from wrong and justice from revenge. BOPE Captain Nascimento (Wagner Moura) is facing a crisis: in addition to the pressures of fighting within war zones, the Captain must find and train his own replacement so he can escape the day to day violence and be close to his wife who is about to give birth to their first child. Two of the force s newest recruits, Neto (Caio Junqueira) and Matias (André Ramiro), are childhood friends: one is quick on the trigger to maintain order and the other refuses to compromise his ideals. Together they are the perfect replacement. Alone they may not have what it takes to survive. Directed by José Padilha, (BUS 174), and written by Padilha, Academy Award nominated writer Bráulio Mantovani (CITY OF GOD) and Rodrigo Pimentel, comes the controversial film ELITE SQUAD (TROPA DE ELITE). It is based on accounts from Pimentel s 19 years as a military police officer and BOPE Captain. 2

3 ELITE SQUAD (TROPA DE ELITE) Long Synopsis In Rio, I only see shades of gray. Nothing is black or white and nothing is what it seems. -- Director José Padilha It s 1997 in Rio de Janeiro and corruption is the law. Hundreds of thousands live in favelas the slums. These renegade suburbs are where the poorest of the poor live. Drug trafficking militias have complete control within the favelas while the Police run criminal enterprises outside. In 1997 s Rio being an honest cop makes you a target for both. ELITE SQUAD (TROPA DE ELITE) is an intense and astonishing look at the never before seen side of Rio s notorious favelas from the viewpoint of the police. Neto (Caio Junqueira) and Matias (André Ramiro) are two rookie cops who are learning quickly how detrimental honesty and idealism can be to their careers. Neto is overly eager to make his mark and quick to learn some short cuts. Matias is motivated by social responsibility and studying to become a lawyer but must hide his job from the rich college kids he befriends. These students, who live far from the slums, are also entrenched in the drug trade as users and dealers. Captain Nascimento (Wagner Moura) is part of Rio police s elite squad - BOPE soldiers handpicked and rigorously trained. In addition to the pressures of fighting within war zones, the Captain must find and train his own replacement so he can escape the day to day violence and be close to his wife who is about to give birth to their first child. He struggles with the duty to his unit and his responsibility to his family to the point where both may become casualties. When Neto and Matias are engaged in a gunfight deep within the Turano favela, the elite squad enters to clean up. Upon witnessing the skill and dedication of the squad, Neto and Matias are eager to leave the corrupt police force and serve with honor and dignity. They survive boot camp under the command of Captain Nascimento and become part of his special operations unit. Here justice and violence are inseparable and consequences of their decisions endanger their lives. Nascimento is chosen to lead a team of soldiers who must take on the mission of securing the Turano favela for a reason that he considers completely senseless. He knows going in will ignite a war and he may not make it out. The Squad engages in the same brutality as the drug traffickers in order to root out the suppliers and eradicate the drug lords. It becomes increasingly difficult to distinguish right from wrong and justice from revenge. Everyone has distinct motives but must move towards the same goal. When the situation explodes everyone is caught in the crossfire and no one is innocent. 3

6 ELITE SQUAD (TROPA DE ELITE) About the Production Since 1997, when José Padilha founded his production company Zazen with close friend Marcos Prado, all of their projects either because of quality or thematic have been seen and studied by judges, lawyers, students and other academic groups as an instrument in the discussion of social reform. ELITE SQUAD (TROPA DE ELITE) has ignited controversy internationally and was Brazil s top-grossing local film in Even before it was released in theatres, it was on it s way to becoming a cultural phenomenon, having reportedly been seen by more than 11 million Brazilians, due to a pirated DVD version. The idea for ELITE SQUAD (TROPA DE ELITE) came about during the making of Padilha s internationally acclaimed documentary, BUS 174 in That year there were several urban-violence films released. Filmmakers and critics across the country began talking about how this theme had been too overdone, explains Padilha. But this kind of cinema, so far, had only shown these stories from the dealers and marginal characters points of view they never saw it from the police standpoint. I don t think you can talk about violence in Brazil without taking that perspective into account. It s not a mere detail - it s one of the most important factors in this issue. Padilha continues, The film is about the hypocrisy that we are surrounded by in Rio de Janeiro, which is subjacent to the violence. Nothing is thought through everyone acts hastily - if you want to help kids in a favela, you have to befriend drug-trafficking criminals. In order to do some good, you have to take a dubious path; an honest cop wants to clean-up his battalion, but in order to do this he needs to go out on the streets and get some money, because the force doesn t have any; or you want to be a BOPE officer and enforce the law, but you re gonna have to kill a lot of people along the way because they re heavily armed. Everything is a shade of gray nothing is just black or white. Everyone lives in this gray world as if it were normal. These are the quotidian details of our society, of the war in which we live. In 2004 he spoke with screenwriter Rodrigo Pimentel and they began working on the script. Without Pimentel, this project would not exist a large part of what is in the storyline comes from what he went through first as a military cop and then as a BOPE soldier, notes Padilha. When José asked me to do this, I thought he was going nuts seriously crazy! I told him that no one had ever made a film that had caricatured the Brazilian police. The script was full of this officers with their shirts open, privates wearing gold chains around their necks, even the drug lords were depicted as walking around armed to the teeth - all false portrayals, says Pimental. I said I would do it under my conditions. I showed him some films that were very close to my reality, like Ridley Scott s BLACK HAWK DOWN for instance. I made sure that the actors were going to go through a rigorous training camp. And, José guaranteed this to me, he adds. 6

7 Although the script had garnered much attention, Padilha brought on Bráulio Mantovani. We still needed a professional who could polish up the script, so I put on board, in my opinion, Brazil s best screenwriter and one of the best in the world. Padilha admits working with Mantovani was quite an eye opener. I learned from Bráulio that I had no idea how to write. I had taken three months to do the same treatment that he did in two weeks and he did it much better! Mantovani s first feature screenplay, CITY OF GOD, received an Academy Award nomination. The process was an interesting collaboration that completely redefined the narrative. I signed on to the project as a script doctor. I was quite impressed by the first draft that I read, explains Mantovani. There was something in it that had a lot of potential. I gave my opinions and José and Pimentel who would go back to work on subsequent drafts. Becoming more hands on we all went over the entire script, polishing it up, and in the process we ended up restructuring the narrative - and we did this again in editing. After seeing Wagner Moura s extraordinary performance, we decided to change the focus of the story to be told from Captain Nascimento s point of view, he adds. ELITE SQUAD (TROPA DE ELITE) illustrates a reality that we assume exists; one that we can almost grasp but is extremely difficult to decipher. José Padilha is a courageous and determined man, and has succeeded in making a great film, says Moura. Padilha returns the compliment, The grandeur of Wagner s acting skills was able to transform certain 20-second scenes into fantastic sequences that would last three full minutes. Moura s rapid ascension to stardom has transformed him into one of the most sought after actors in Brazil. He starred in; Cacá Diegues GOD IS BRAZILIA; Hector Babenco s CARANDIRU; Vicente Amorim s THE MIDDLE OF THE WORLD; and Sérgio Machado s LOWER CITY. ELITE SQUAD (TROPA DE ELITE) was especially captivating for Moura who was equally impressed with the writers. The script just floored me! he admits. I saw something really explosive about it, revealing truths never told, sights never seen. No one had ever exposed the entrails of such an important institution like the military police, and at the same time it is so abandoned. The film really shows how I feel - that everything is so messed up! Moura previously played extremely violent and difficult roles. His role in ELITE SQUAD (TROPA DE ELITE) was particularly daunting. During the twelve weeks of shooting he found the portrayal of violence and volatility was not something he could leave on set. I became saturated by the violence, by the constant brutality, and that stays with you, admits Moura. It was always a blessing to arrive home at the end of the day! My wife had just given birth to our son, Bem. Every day that I had off, I would just sit there with him, and try to relax. At first, Moura thought he was too young to play the part of Nascimento. Caio Junqueira on the other hand fought to play, Neto, a younger character than him. Initially they thought that I was too old to play a rookie cop, so I ended up reading for the role of Captain Fábio, he admits. I really identified with Neto s character. I felt a spectacular surge of emotion playing that part, he adds. 7

8 For André Ramiro, getting the role of André Matias changed his life completely. Prior to this film he was a movie theater usher in Rio s posh South District. After getting called back from a casting session, he left his job immediately. The magnitude of what he was getting into hit him months later. I only began to realize what was happening when we started to rehearse at Fátima Toledo s acting workshop, he admits. One of the running jokes on the set was to say that Fátima Toledo was the BOPE of the acting coaches. One of the BOPE instructors told me that not even his own officers would do to their trainees what [Fátima] does with the actors, Padilha reveals. He explains, I wanted her to prepare the actors so that they could give real performances, as if they were characters in a documentary. We split up the characters into four groups: the BOPE soldiers; the military cops; the dealers; and the college kids. Each group was made up of actors and people who had never acted before. In the drug dealer group for instance, most were ex-soldiers in the drug trade that today have become rappers. We rehearsed each group separately. The idea was for the characters to go through two types of triage: Fátima s workshop and real life. Filming was very demanding for both the inexperienced and seasoned actors. They went through a two-month workshop where they worked on honing their improvisational skills, that later began to focus in a certain direction. I asked that Fátima not accompany me during the shoot, so that I would be able to change the text on-set, and sometimes be free to change entire scenes on the spot, states Padilha. Padilha did just that. This strategy paid off in many ways. Sometimes we would have a problem where the actor was not really clicking with the non-actor in a scene. I would whisper for the actor to change his or her line and the non-actor would be forced to improvise. This would intensify the scene, making it more real, he explains. Fátima s technique is polemical, but it works. It s evident in the films she has worked on, like CITY OF GOD. It was the best option for the way I wanted to do this film - using hand-held shots and actors who were not aware of, (and therefore restricted by) the script, points out Padilha. He singles out Fernanda Machado (Maria) as an integral part of this process. She really helped me with this, laying out booby-traps for the non-actors to maneuver around. I would provoke André Ramiro (André Matias) to give her an unscripted answer. Since Fernanda is quite skillful, we were able to create an unfettered environment, rich with improvisation. Thanks to our super-agile camera crew, we were able to capture entire sequences in that way, on the spot, like John Cassavetes. Practically overnight Machado was playing the part of Maria who runs a NGO (Nongovernmental Organization) in a drug-traffic-controlled favela and unknowingly dates a cop, André. I was on the road with a play and I hurried back to Rio as soon as I heard the news. The next morning I was thrown into Fátima Toledo s workshop. It was grueling, but extremely rewarding. I dug deep, and just let myself go it was a visceral experience, says Machado. 8

9 As formidable as the method was, the actors enjoyed the experience. I had never worked on something with so much freedom and now I really miss that, remarks Machado. I would surprise André and vice-versa, it became like a game between us. Maria Ribeiro, who plays Nascimento s pregnant wife, used her own methods to really connect with her character. I concentrated on transforming myself into a woman who would do anything it takes to save her marriage. My trajectory in this film is quite different from that of the others. Maria is director José Padilha s cousin but did not bypass the casting process. I auditioned, and they chose me. And how was it to work with Padilha? I was shocked, in the best sense of the word. This is my sixth feature, and I had never been on such a good-natured set. It was liberating. I think it was also a survival tactic, because the film s thematic is so intense, she notes. The intensity was not limited to when the cameras were rolling. A grueling boot camp was essential. With writer Pimental, the former police officer and BOPE soldier on set, anything unauthentic would immediately be noticed. Junqueira remembers, We were taught everything from the theoretic ideas behind being military police officers to physical warfare tactics taught by BOPE personnel, which was insane! Two weeks in boot camp in the middle of nowhere with six BOPE officers teaching us to shoot on target, get beat up and how to defend ourselves. We walked through dirt trenches. We ate mud. Whoever couldn t take it was out and that was it, just like in the real training course, Junqueira adds. Moura concurs, It was like nothing I had ever witnessed! BOPE trained us as if we were actually going to put on their uniforms for life. They had never done anything like this either, but they strove for perfection, they were really tough! We would run in perfect alignment into the favelas not even an elbow would be out of place. Moura continues, Sometimes, when we would be way in the background, a soldier would come over and adjust a detail or two. The training was really, really crazy. To this day, the soldiers on my team still call me Captain! The BOPE soldiers are really proud of that, they really pulled us together and made us a cohesive unit, Moura adds. The soldiers weren t the only ones giving orders. Moura had an added element. The trainers would yell, You are the Captain. Yell at Caio and André as they eat their lunch off of the grass and mud! remembers Moura. It s an experience no one will forget. Writer Rodrigo Pimentel was a military police officer for twelve years and served seven more as a BOPE Captain. It s the greatest thing on earth to be part of that select few. If you want to punish a BOPE official, all you have to do is take his badge away, he admits. The pride that you feel when you are a part of a group of people whose main discourse is to weed out the corruption that is plaguing today s society it s marvelous. To be a BOPE officer is to become bulletproof. We are the cops that have the highest esteem for one another and for ourselves. We make the exact same amount of money as the regular military cops, but we have our dignity intact, he declares. 9

10 Understandably, the military police reacted strongly to the film. Padilha, as is customary, approached them before filming. Generally, you have to request a no objection waiver from the precinct that oversees the area in which you are shooting. In our case, they wouldn t sign it, he says. I looked at that as one more form of hypocrisy. I thought, There is no censorship in Brazil? What the cops need to evaluate is if it is safe for citizens to go up there and shoot, says Padilha. In the end some open-minded military police officers won over the intolerant ones. The initial resistance ended when everyone understood that the film was not an adaptation of the book of the same name. They presented the copyright for the book and another one for the script. When the approval came in from the higher ranks the cops started collaborating with us, notes Padilha. We were always working on the edge of danger, dressed as cops inside the favelas, says Junqueira. We had to wear vests with FILM CREW written on them over our uniforms while the cameras weren t rolling, but it was still very intense with the dealers watching us. Then one day all of the weapons were stolen. Wagner Moura, André Ramiro and I had left the car for only a minute before it was taken! The robbery of the weapons paled in comparison to the kidnapping that accompanied it. Padilha explains, The film had to face the reality with which it was dealt. It became, essentially, a victim of its own thematic. When one of our vans was sequestered, with crewmembers and most of the weapons we used as props inside, it took us two hours to find out what had happened. It was an insurmountable amount of stress for me. Part of my crew had been taken by force by criminals armed with hand-grenades and AR-15 rifles! When the van and crew reappeared unharmed, thank God, I had another huge problem to face: How do we go on from here? First of all, we had no weapons to shoot with. Moura adds, After our weapons were stolen we insisted on shooting at the Prazeres favela in the Santa Teresa neighborhood. The drug-lord cornered José and I for a talk. He was convinced that the cops were going to invade his territory for our sake, as they did in order to investigate the previous theft. In the middle of his tirade he demanded to know if we had brought a police officer into the Babilonia favela and cited a specific scene. He ordered one of his men to bring us a newspaper where it said that one of the suspects in the weapons theft was from his territory. I radioed over to our contact at the Neighborhood Community Center, but the guy wouldn t answer me. Then the drug lord said to us: Let s take a walk. So here I go with José and our set-manager Perigoso, walking towards the woods. I started hearing a ringing in my ears it was the adrenaline pumping through my veins. I thought to myself, is he just going to kill the three of us? This is going to be a huge problem for him if he does. Moura continues, Suddenly, after trying our contact on the radio for the umpteenth time, he answers and comes immediately to our aid. That was one of our most intense moments. The cops had gone up into the favela to investigate the carjacking, making that location unusable. I had to deal with many difficult moments. There was a shoot-out when we were striking our set in the Prazeres favela and one of my crew was almost hit. That got me thinking, If I push my luck and go back up there, I m going to die, reveals Padilha. 10

11 A few people did end up leaving, even though they had bulletproof vests. The film was too dangerous for them. It s an extremely volatile situation everything is a victim of hypocrisy in this city and the film crew was not able to overcome that either, Padilha admits. We told the heads of the Community Centers in the favelas that we wanted to shoot there, knowing that they would have to strike a deal with the drug-trade that occupied their area. When our weapons were stolen, the dealers of other favelas said: wait a minute the cops invaded the communities where you ve been shooting, how do we know that they re not going to come up here? Rafael Salgado, my first assistant director, was a key player in re-organizing the crew. It was surreal. I went through five-straight sleepless nights. We stopped shooting for ten days! The crew became uncertain and anxious, asking me for some sort of guarantee, Padilha notes. This is Rio de Janeiro there are no guarantees. With that they banded together. With the constant pressure hanging over all of us we ended up reinforcing our cohesive unit that ultimately took those risks because it understood the importance of the film. A lot of my colleagues have told me that no Brazilian film crew has ever been subjected to so much pressure. Those people just kept on working strong, supporting me, going along with shooting in places that even the production management didn t recommend. I saw a lot of courage in the making of this film, Padilha says with pride. The college student and the NGO worker have to live side-by-side with the drug trade and BOPE have to fight and protect all of it. Also, to those university students, it s cool to smoke pot they don t think about the fact that they are financing the same guns that are used to retaliate against the cops that are there to protect them. The conflict between the different codes of ethics within these social groups and the hypocrisy are what is subjacent to the violence, notes Padilha. The film is looking at this situation from the outside, through the eyes of an intelligent man, one who understands it and wants out. The film itself does not agree with Nascimento s position. What the film does want to propose is this: Look at what situation we are living in here. Let s really think about this, remarks Padhila. Padilha chose a point of view that was similar to that of Pimentel and to other officers. There is an extreme amount of cynicism in the police force. They say, your film is awesome, but let s pretend that cops don t act in that way because I am one of them. My film is about an incompatibility between different social groups. In the film, the military police thinks that corruption is normal, he notes. Fueling the corruption were the low wages. The cops found it difficult to fathom why BOPE soldiers would risk their lives by going up to the favelas to kill drug dealers. To BOPE officers, who do not tolerate corruption, the military cops are almost one more enemy, explains Padilha. 11

12 Pimental admits there have been some improvements since his days on the force. A captain would make around $270 (US) per month. Now it s about double that. A private nowadays makes about $440 (US). At that time, BOPE had one hundred and twenty men in operation, now there are more than four hundred employed. They re twenty to twentyeight-year-olds and super accelerated, because the training course basically brainwashes them, so that they begin to think of themselves as super-heroes. It s a strategy: if they don t feel like super-men, they won t go into a favela under-fire, it wouldn t work out that way, he reveals. How much has the situation changed since 1997? Pimental says, I know that the same old mistakes are still being made. The drug-trade is anarchical and unpredictable. The worst conflicts that the press talks about are between drug-run gangs. That s why we went through what we did during the shooting. An Amnesty International Study (Brazil: From burning buses to special armored vehicles: the search for human security, May 2, 2007) reports, Dependence on heavyhanded policing coincided with the sudden and dramatic rise in killings by police officers in situations officially documented as resistance followed by death or records of resistance. Killings rose from 300 in 1997 to 1195 in 2003 and 1098 in Among the few successes that the police force has celebrated, there are dozens of failures. If any police operation becomes the cause of a stray bullet, an innocent victim, or the closing of schools and stores in the neighborhood for days on end it s just wrong. Of course it s still important to incarcerate criminals in order to provide safety to the population. In law enforcement today this philosophy still has not been implemented, Pimentel contends. In May 2006, President Luiz Inacio Lula Da Silva responded to an outbreak in violence by blaming the people not the politics. What will solve the problem is each one of us looking at what happened in Rio de Janeiro and not blaming the state government, the President of the Republic, or the Mayor of the city, because what is happening is the result of historical errors, accumulated by Brazilian society as a whole, he declared. In October 2006, President Da Silva was elected by a landslide to a second four-year term despite a series of corruption scandals. Although there is hope that the President will make good on his promises to make public security one of his main focuses, the 2007 Amnesty report concludes, In Rio de Janeiro long term political negligence has allowed powerful vested interests to control events and quash reform. Profound corruption and criminality within the state s police and prison systems have blocked any meaningful, structural change to public security policy. What has emerged is a complex mix of criminal, police and para-police violence. The city s most marginalized communities have never appeared so bereft of protection or abandoned by the state. People have to understand what the film is telling us, Junqueira says. The movie was already so talked-about during its production. By the time they finished editing, the public s curiosity was already at its boiling point and then it just exploded, he notes. 12

13 Moura believes the film can be a catalyst for change. There are those who don t believe that, but not me. A film that generates such a large-scale discussion as this one, can only lead to some good. It s making people think about the chaos we are living in. We are all victims in this story, but the people who are most harmed by this society are the simple workers and their families that live under the terrorist regimes that control the favelas. I make films so that a transformation and discussion can occur. What s the point of making any other type of film? Padilha asks. I made a film that mirrors a reality. The highest ranks of the police force have already given feedback recognizing that the film speaks the truth. My beef is with hypocrisy. I have no qualms about going against that, he concludes. 13

14 U.S. DEPARTMENT OF STATE 2006 Country Report on Human Rights Practices BRAZIL Released March 6, 2007 There continued to be a high rate of police killings. Reports from the Center for Studies of Security and Censorship (CSSC) at Candido Mendes University estimated that approximately 3,000 persons were killed by police in Rio de Janeiro State during the year. Although the law prohibits torture and provides severe legal penalties for its use, torture by police and prison guards remained a serious and widespread problem. Federal, state, and military police often enjoyed impunity in cases of torture, as in other cases of abuse. According to the nongovernmental organization (NGO) Global Justice (GJ), the main human rights problem in Rio de Janeiro State was police violence and impunity. In many cases police officers employed indiscriminate lethal force during apprehensions. In some cases a person s death followed harassment and torture by law enforcement officials. The law prohibits arbitrary arrest and detention; however, police continued at times to arrest and detain persons arbitrarily. The law limits arrests to those caught in the act of committing a crime or those arrested by order of a judicial authority. While the justice system provides for an independent civil judiciary, courts were overburdened with significant backlogs, and sometimes could be subject to corruption, political influence, and intimidation. Citizens have access to bring lawsuits before the courts for human rights violations. Privately owned newspapers, magazines, and a growing number of online electronic publications vigorously reported and commented on government performance. Both the print and broadcast media routinely discussed controversial social and political issues and engaged in investigative reporting. The law provides for freedom of assembly and association, and the government generally respected these rights in practice. Ethical behavior of public figures continued to be a major issue during the year. The NGO Transparency International s index indicated a serious and deteriorating perceived corruption problem. The entire report can found at: 14

15 ELITE SQUAD (TROPA DE ELITE) Cast WAGNER MOURA / Captain Nascimento Born in Rodelas, in the State of Bahia, in June 27, 1976, Wagner Moura has a degree in journalism, from Federal University of Bahia. He started his career working with a group of friends in press relations and later hosted a regional TV show. He attended a local theatre course and revealed himself as a skilled actor. Wagner has appeared in more than ten films, two soap operas, a short-series and several television programs. For TV Globo, the major Brazilian network, he played the famous villain Olavo Novaes in soap opera PARAÍSO TROPICAL. He also appeared in JK (miniseries), PROGRAMA NOVO and SEXO FRÁGIL. In theatre, he acted in seven plays including Dilúvio em tempos de seca, Os Solitários and A Máquina. His films include; Ó PAI, Ó, directed by Monique Gardenberg; CIDADE BAIXA, directed by Sergio Machado; CARANDIRU, directed by Hector Babenco and Walter Salles ABRIL DESPEDAÇADO. ANDRÉ RAMIRO / André Matias André Ramiro was born in 1981 in a poor neighborhood in Rio de Janeiro. Like many kids and young people from poor communities, his first experience with employment included carrying grocery, selling candies and sweets, up to the day in which he found a job as doorman for a movie theatre in an exclusive neighborhood in Rio de Janeiro. He also developed his career as a rapper and honed his skills by participating in rhyme battles and musical challenges. In one of those music battles, he met João Velho, the actor who informed him of the auditions for ELITE SQUAD. His performance in the film brought much attention but he never left aside his musical talents. In 2008, André will release his first CD, which was entirely composed by him called As Crônicas de Um Rato Careta. CAIO JUNQUEIRA / Neto Caio Junqueira feature film credits include: FOUR DAYS IN SEPTEMBER; CENTRAL STATION; BEHIND THE SUN and ZUZU ANGEL. He also has a number of television credits including: DESEJO PROIBIDO; LINHA DIRETA and A ESCRAVA ISAURA. His theatre credits include: Memorial do Convento ; Aonde Anda Você Agora? and Os Justos. 15

16 MILHEM CORTAZ / Captain Fábio Milhem Cortaz began his career in 1991 at Italy s Piccolo Teatro di Milano where he worked and toured with the company for 3 years. After returning to Brazil in 1994, he worked with Antunes Filho, one of the most accomplished Brazilian theater directors in history. From that point on, his career took off in theater, film and television. He has won innumerous awards including the APCA, Mambembe, and Apetesp for Vermouth, O Melhor do Homem and A Boa. Mr. Cortaz is a versatile actor who has shown his talent in more than 20 feature films, over 30 TV specials and soap operas, and a number of plays. He s worked with top South American directors such as Academy Award nominated Hector Babenco; Fernando Meireles; José Eduardo Belmonte; Jeremias Moreira; Francisco Cesar Filho; José Padilha; Carlos Reichenbach; Tata Amaral; Luis Villaça; and Walter Carvalho. In television, he has worked for Brazil, Globo TV and Record, with top creative talents including Dênis Carvalho; Jacques Lagoa; Marcos Paulo; Roberto Talma; Mauro Mendonça Filho; and Denise Sarraceni. He has appeared in; Bicho do Mato; Vidas Opostas; Cidadão Brasileiro; Essas Mulheres and A Diarista. His most recent film credits include SE NADA MAIS DER CERTO, O MENINO DA PORTEIRA and AUGUSTAS. FERNANDA MACHADO / Maria Fernanda Machado was born in Maringá, in the State of Paraná, where she studied theater from an early age. She left her hometown and went to the City of Curitiba in order to study and dedicate herself to theater. Fernanda moved to Rio de Janeiro upon an invitation from TV Globo, the leading Brazilian network. She has appeared in eight plays and the feature film INESQUECIVEL, directed by Paulo Sergio Almeida. Her television credits include TV Globo s soap operas: PARAÍSO TROPICAL; ALMA GÊMEA; COMEÇAR DE NOVO and the series XUXA NO MUNDO DA IMAGINAÇÃO. MARIA RIBEIRO / Rosane Maria Ribeiro was born in Rio de Janeiro, in She graduated with a degree in journalism and started acting at the age of 17. Since then, she has worked with the some of most important directors in Brazil. She has acted in 15 plays, seven films, and five soap-operas on Globo TV and Record TV including: LUZ DO SOL and PROVA DE AMOR. Maria has also appeared in the following feature films: ORFEU (dir: Carlos Diegues); TOLERANCE (dir: Carlos Gerbase); SEPARAÇÕES (dir: Domingos Oliveira) and THE XANGÔ FROM BAKER STREET (dir: Miguel Faria Jr.). 16

17 Recently, Maria won the "Qualidade Brasil" award for Best Supporting Actress for her role in ELITE SQUAD. FÁBIO LAGO / Baiano Fábio Lago was born in Ilhéus, a city located in the state of Bahia northeast of Brazil. He started his career at the age of 16, doing amateur theatre. Fábio eventually moved to Rio de Janeiro and started a successful career in television. His television credits include: Hector Babenco s version of CARANDIRU - OTHER STORIES, and Fernando Meirelles CITY OF GOD. His film credits include: A GRANDE FAMÍLIA; ARQUIVOS IMPOSSIBLES and TRABALHO NOTURNO. Fabio has won two best actor awards with his work in the feature film O ULTIMO AMIGO DA ONÇA. In the theatre he has performed more than 30 plays, among them: Dona Flor e Seus Dois Maridos ; O Casamento do Pequeno Burgues ; Os Cafajestes ; Cambaio ; A Hora e Vez de Augusto Matraga. FERNANDA DE FREITAS / Roberta Fernanda was born in San Jose do Rio Preto. At the age of 14 she was already connected to the artistic world, giving ballet lessons to children. After sending several letters to a television show, she was invited to be a stage assistant. Since starting in television, she has garnered many credits including: MALHAÇÃO; PÉ NA JACA; and BANG BANG. Fernanda is currently starring the play Ensina-me a Viver, directed and adapted by João Falcão. In her theatrical debut, she shares the stage with actress Glória Menezes, the eternal diva. Some of her film credits include: ZUZU ANGEL and CIDADE BAIXA. Her next film A CASA DA MÃE JOANA, directed by Hugo Carvana, will be released in Brazil in

18 ELITE SQUAD (TROPA DE ELITE) About the Filmmakers JOSÉ PADILHA / Director / Writer / Producer José Padilha was born August 1 st 1967 in Rio de Janeiro, Brazil. Padilha has a bachelor degree in Business Economics at the Pontifícia Universidade Católica of Rio de Janeiro. He also attended Politic Economics, English Literature and International Politics in Oxford, England. His first work in film was as Executive Producer of BOCA DE OURO, a fictional feature film that was theatrically released in Brazil and sold to HBO television in the US. His second film, which he wrote and produced, THE CHARCOAL PEOPLE had its US première at Sundance 2000, European premiére at IDFA 2000 and won Best Feature Documentary at the LA Latino International Film Festival Padilha also produced and directed two television documentaries for National Geographic Television: PANTANAL COWBOYS, which was awarded the 2004 Television Programming Award at the NY Festival, and FACING THE JAGUAR. He also produced and directed OS PANTANEIROS, for GNT, a Globo Network Television Channel. BUS 174 was his first theatrical film he directed. The Director s Guild of America honoured Padilha for Outstanding Directorial Achievement. The film won both the Publics Choice for Best Documentary and the FIPRESCI Critics Award for Best Brazilian Feature Film at the Rio de Janeiro International Film Festival At the São Paulo International Film Festival in 2002 the film was awarded Best Documentary prize by the International Critics and Padilha won the award for New Documentary Director. BUS 174 had its US premiere at Sundance in 2002 and its European premiere at Rotterdam Film Festival in 2003, where it won a special mention by the Amnesty International Jury. In the US the film won the Best Documentary Grand Jury award at the Miami International Film Festival 2003, the Most Innovative Film award at the Chicago Documentary Film Festival 2003 and the Charles E. Guggenheim Emerging Artist Award at the Full Frame Documentary Film Festival in In Europe BUS 174 has won the Best International Premiere at the One World Media Awards in London, the Interfilm Academy award at the Munchen Film Festival 2003, Best Documentary at Mediawave in Hungary, and Best Documentary at the Copenhagen Film Festival. The film was also awarded Best Documentary at the Nuevo Cinema Latino Americano Festival in Havana and the Emmy Award Padilha produced the documentary ESTAMIRA that premiered at the Rio de Janeiro International Film Festival in October 2004 and was awarded the prize for Best Documentary. ELITE SQUAD, marks the first film in which he directed, produced and wrote. In 2007, he also produced and directed the short documentary CHARCOAL for Live Earth, Al Gore s NGO. 18

19 ELITE SQUAD recently won the Golden Bear, at the 2008 Berlin International Film Festival. He has two documentaries in post-production; FIERCE PEOPLE and HUNGER. BRÁULIO MANTOVANI / Writer / Producer BRÁULIO MANTOVANI was born in São Paulo (Brazil) in July He is a graduate in Portuguese Language and Literature from the Catholic University of São Paulo (Brazil) and holds a Master Degree in Screenwriting from the Universidad Autónoma of Madrid (Spain). Between 1980 and 1983, he participated in different independent theater groups as an actor, performing especially at unions, community centers and shantytowns all over São Paulo. From 1984 to 1988 he worked at the Catholic University Theater Group both as an actor and a writer. In 1987, he began to work as a screenwriter. He was the head of the screenwriting team of the Telecurso 2000, the most important distant learning project ever produced in Brazil. From 1989 to 1991, Mantovani worked in New York as an assistant to the Academy Award winning Polish director Zbig Rybczynski, participating, among others, in the project The Orchestra (PBS, Canal Plus, NHK), which received an Emmy Award in He also attended the Screenwriting Lab of the Sundance Institute in Brazil (1999) with the first draft of the script CITY OF GOD (directed by Fernando Meirelles), which had its world premiere at the Cannes Film Festival (Official Selection) in The film has won innumerous awards throughout the world and has garnered Mantovani the award for Best Adapted Script in the Academia Brasileira de Cinema in He also won the Best Script Award in Brazil promoted by the Motion Picture Association of Latin America in association with the Writers Guild of America in 1999 and was nominated for a Best Adapted Screenplay Oscar in Upcoming films include the Brazilian productions 174, NANNY and in development, DAY OF KNOWLEDGE with Oliver Hirschbiegel slated to direct. He co-wrote LINHA DE PASSE with Walter Salles and Daniela Thomas, which Salles will direct. RODRIGO PIMENTEL / Writer He was a member of Rio de Janeiro Military Police from 1990 to As a captain, he acted in the Elite Squad from 1995 to Rodrigo has a master degree in Urban Sociology issued by the prestigious State University of Rio de Janeiro - UERJ. He wrote articles for Brazilian newspaper Jornal do Brasil and co-produced the documentary BUS 174. He currently works as a security consultant. In 2007, he released THE book Elite da Tropa, written together with Luiz Eduardo Soares and André Batista. 19

20 MARCOS PRADO / Producer Marcos Prado is the 45-year-old partner and founder of Zazen Produções and director of the award-winning documentary ESTAMIRA. He graduated from college with an economics degree, but truly began his professional life as a photographer. He studied at the prestigious Brooks Institute of Photography in California and as a freelancer produced photo-essays that won many prizes and contests including World Press Photo, UNEP (United Nations), and Hasselblad Master. His work can be seen in the permanent collections of Rio and São Paulo s Museums of Modern Art and São Paulo s MASP Museum. In 1998, at Zazen, he co-produced the documentary THE CHARCOAL PEOPLE OF BRAZIL inspired by his original photo-journalistic work. In the year 2000, this same work became a book, as well as another one of his essays called Gramacho Garden (2005), which was a result of 11 years of work and research at the Sanitary Landfill in Rio de Janeiro. It was at that landfill that Prado met a schizophrenic woman who would be the central focus of ESTAMIRA, winner of 33 international awards. Prado also produced and directed many works of non-fiction together with José Padilha, for Globosat and National Geographic TV. In 2002, he produced the award-winning documentary, BUS 174. Prado is preparing to shoot his first fiction feature as a director. PEDRO BROMFMAN / Music A Rio native, Bromfman lives in California, where he studied at UC-Berkeley and at UCLA. He has composed many film scores for television channels such as National Geographic and ESPN and for documentary films like Eduardo Brand s FIGHTING DAYS and the independent film BETWEEN THE LINES, directed by Anisha Pattanaik. LULA CARVALHO / Director of Photography As an assistant cameraman and/or camera operator, Lula Carvalho has worked on over a dozen feature films among them are: CARANDIRU (Hector Babenco), BEHIND THE SUN (Walter Salles), TO THE LEFT OF THE FATHER (Luiz Fernando Carvalho) and YOU ME THEM (Andrucha Waddington). ELITE SQUAD (TROPA DE ELITE) is his fourth film as a director of photography. DANIEL REZENDE / Editor Until 2002, Daniel Rezende was working on commercials and music videos when Fernando Meirelles offered him the chance to edit CITY OF GOD. This impressive feature-film debut garnered him a BAFTA Award and an Oscar nomination for Best Editing. Mr. Rezende also edited Eliane Caffé s THE STORYTELLERS, two Walter Salles films (THE MOTORCYCLE DIARIES and DARK WATER) and THE YEAR MY PARENTS 20

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